In Bruckner’s sketches the development begins with three measures in A flat major and minor and continues with completion material alternating with discontinuouse folios presenting a considerable discussion of the C and A2 themes alternately. Then as his usual practice there is an allusion to the B1 theme ex. 9 (B1, development)
. Following that is a development of the A2 theme as a three-voice fugue ex. 10 (A2, recapitulation, fugue)
serving as the beginning of a formal recapitulation, which after 56 measures gives way to a long and continuous passage, with no gaps in the sketches, on the dominant of C sharp minor and a breaking-off, much like those in the first movement, passing through F sharp major. The recapitulated B1 theme comes next, in the same pitches as in the exposition but harmonized in E minor ex. 11 (B1, recap.)
; later the theme is inverted in G major. Then there is a long gap, called by some the “black hole,” which I have filled with an allusion to the beginning of the finale as an accompaniment for the theme of the Adagio ex. 12 (A1, Adagio)
. All of this material, loud and soft, is dominated by the dotted rhythms of A1 and A2. Then begins the triplet rhythm, leading to the recapitulation of the chorale which begins quietly with the Te Deum accompaniment ex. 13 (C, recap.)
and then grows in volume and in detail as the triplet rhythm resumes. Then in my completion I have devised a second and greater catastrophe, in the same formal location is the one in the exposition, where the chorale again collapses into dissonance and descending scales ex. 14 (second catastrophe)
. The dissonant catastrophe is the only place in the completion where I used the technique of montage, that is, continuing into a gap with entirely different music. Yet it seems to me that that must be done here. During the descending scales of the catastrophe, I invite the contrabassoon to join the soundscape, and in due course the coda begins.
My coda is 117 measures long, in two parts of 58 and 59 measures. The first part is full of menace and apprehension, partly my composition with the first-movement theme in the bass ex. 15 (coda, section 1)
, and partly based on a short-score sketch by Bruckner which certainly goes with the finale, but is not usable elsewhere. In the coda the two toccata rhythms are heard together for the first time. Then at the climax there is an allusion to the unison theme of the first movement leading directly to the key of D major, and the second part begins with a fanfare, followed by the four main phrases of the chorale with a triadic version of the Adagio theme ex. 16 (coda, section 2)
as a countermelody. After the inverted fourth phrase, leading through cadence chords from the Adagio, the Te Deum reappears with its melody and accompaniment while the theme of the first movement is heard in the bass in the major ex. 17 (peroration, Te Deum)
. After eight measures the Alleluia of the second theme, the B1 melody, soars above in triumph, supported by triadic versions of the themes of the other movements, ex. 18 (peroration, Alleluia)
, just as the good doctor said that Bruckner had planned. It amazes me to realize that it took me thirty years to work out that simple and direct gesture. But we can expect that what was logical and obvious to Bruckner is still mysterious and wonderful to us. Thank you!